A coordinated action by a number of music rights associations and companies is focused on stream ripping services that facilitate the saving of music tracks ripped from streaming services such as YouTube and Spotify.

An organisation that claims to defend digital privacy and free speech is trying to kill Australia’s pirate site blocking regime with hyperbole and outright fabrications, according to copyright expert Hugh Stephens.

The public is fed up with the abuses by Internet intermediaries as lawmakers in Australia, the US and Europe are taking steps to ensure greater respect for copyright and content, according to Hugh Stephens.

Two recent research studies into the effectiveness of site blocking and the role of search engines in facilitating piracy demonstrate the need for the introduction of the copyright amendments introduced in the House of Representatives.

The first review of the Kiwi copyright regime in more than a decade must provide legal protection to authors, publishers and others who make creative content, according to the CEO of Copyright Licencing New Zealand.

“Google is the subway system that takes you around the internet. If people keep getting mugged on the subway, you eventually insist the subway system improve its security”, says Joe Weisberg, US writer of the TV series The Americans.

The Office of the US Trade Representative finds global piracy remains a “direct threat” to copyright holders although some progress has been made to curb the practice in China, Russia and several other markets.

Lobby group Free TV Australia wants regulators to force the software giants to implement software to ensure transparent measurement of web traffic and level the regulatory playing field between traditional media companies and the digital duopoly.

Australia’s screen producers are renewing calls for more support for producers after Rachel Griffiths tells them: "I realise now you make no money, you have no power and you are exhausted. That’s a very new revelation to me."

Proposed changes to safe harbor provisions in Australian copyright law reflect an effort to balance the intent of safe harbors with effective copyright protection, with legislators drawing a sharp distinction between public-serving, cultural institutions and the world's largest, for-profit tech giants.

"...we artists remain unwelcome in our own land," says renowned Australian author Richard Flanagan in a stunning recent speech, arguing the role of Government is to allow creativity a positive role in shaping our future, not deny and destroy it.

Among the standard responses to any proposal to mitigate online piracy is an insistence that it just cannot be stopped. Perhaps not entirely. But it can be starved. That was the underlying goal of SOPA, but people decided the criminal sites deserved the money they were making because freedom.

The debate as to how much piracy has hurt the recorded music industry rages on and currently informs decisions as to how much ad supported music reduces illegal downloads. An "unearthed study," which some interpret as proving that piracy had not negative impact on the music industry, is setting the internet on fire. Not so fast, says Neil Turkewitz.

Stubborn myths persist about why film and TV content should be free. Australian writer and journalist Elmo Keep revisits her 2013 argument about patronage and the ‘Artists Should Work For Love’ fallacy.

Lobby groups behind a high-profile campaign on Wikipedia urging a switch to US-style copyright law in Australia have links to multinationals such as Google which would gain substantially from any change to a so-called "fair use" system.

The Supreme Court of Canada has ruled that any court in the country can grant an injunction to stop Google from displaying search results anywhere in the world for specific websites that are alleged to infringe copyright.

The number of outlets where Australians can illegally watch, rent or buy filmed entertainment content has more than doubled since the early 2000s, as shown in this infographic compiled by the Australian Screen Association.

The Chair of the Australian Copyright Council exposes the misinformation inherent in the Wikipedia argument for Fair Use, with reported concerns unable to "withstand any level of intelligent scrutiny."

Director Annie Goldson explains why she was motivated to make a feature documentary on the reclusive internet pirate, Kim Dotcom, and how the film delves into issues such as media consumption, privacy and surveillance.

One of Australia’s most successful authors explains why Australia adopting the U.S. fair-use copyright doctrine would harm content creators. Photo: Hippo Hippo the Musical has toured nationally for months to booked-out audiences, employing many young actors and symbolising the good, creative working relationship that long term book copyright provides. (Photograph by Garry Ginivan)

One of many talented Australian screen creatives knocking it out of the park internationally, Brisbane-born Deborah Riley just won her third Emmy for Game of Thrones. In this video she discusses her work as a production designer on the global juggernaut.

Australian home entertainment distributors, cinemas and US studios, united in opposition to the Productivity Commission’s proposed copyright reforms, explain how consumers stand to lose if changes are adopted.

Australian publisher HarperCollins has warned the Productivity Commission that opening the book market fully to imports could halve the volume of Australian books published each year and deter booksellers from taking chances on new authors.

If you want Australian writers and illustrators to be treated fairly, you should be outraged by the Productivity Commission’s proposals, according an Adelaide-based children’s book illustrator, animator and cartoonist

A year of box office records and the introduction of dynamic online platforms triggers some reflection on the Australian film industry.

As 2016 hits its stride, it’s perhaps a good time to take stock of our Australian film industry, at a unique point in its history, and in the context of a very dynamic market. And it’s an attractive view - 2015 was the best year ever for Australian films at the local box office.

Copyright Agency Viscopy CEO Adam Suckling urges Australian policymakers to examine the lessons to be learnt from costly court actions in the US, in order to get the balance right when modernising our copyright system.

Musician and copyright advocate Lindy Morrison has long campaigned to have musicians' rights protected in practical and meaningful ways, including their right to choose how their work will be enjoyed by fans.

Brian Karlovsky writes that Australia's peak body for the promotion of copyright, creative rights and piracy research has been rebranded as Creative Content Australia and bolstered its membership with some key appointments.

What you need to know is not always what you want to hear. Copyright policy decisions should be informed by solid research and evidence which exposes myths and misconceptions, writes experienced research analyst Anna Meadows.

Intellectual property lawyer Sandy Zhang writes on what he considers one of Australia’s most misreported issues and why for Australian illegal downloaders there may be no better time than now to switch to legal options.

Tropfest 2016 finalist says the festival’s close call this year made him contemplate sustainable business models and how we can all do our bit to give ourselves an industry to be a part of by valuing our work and others’.

Author Michael Robotham is passionate about freedom of speech but does not desire that his books be stolen, copied or handed out for free. Writers – like painters or mechanics – should be compensated for their labour. That’s the basic principle of economics.

20% of active teen pirates download or stream pirated material at school. A teacher talks about her work developing innovative free curriculum-linked classroom resources using independent research insights to reach out to students about screen copyright.

A 2014 MY STORY MY CONTENT short film competition finalist: A film director watches as his cast, crew and equipment disappear before him, a reflection of the film industry’s possible fate should movie piracy continue.